Cultural organizations in Europe: Towards a sustainable relation with the world of business Paul Dujardin Kraków,

2. Culturalorganizations in Europe: Towards a sustainablerelationwith the world of business Paul Dujardin Kraków, 24.10.2012

3. Creativity “Creativity is individual. Innovation is collective.” “Therefore success is the result of an enterprise to innovate andof the capacity of individuals to be creative.” “Unlike innovation, creativity is a rupture, a lightning.” Luc de Brabandère, The Boston Consulting Group

4. Creative entrepreneurship • = The process of integrating2 freedoms: 1. Artisticfreedomas immaterialcontent orientedvalue 2. Enrepreneurialfreedom as materialvalue, supportivetoimmaterialculturalvalues = Connetctionbetween2 seeminglyseperateworlds: 1. Enrepeneurial spirit of the culturalworld 2. Creative spirit of the entrepeneur Source: Utrecht School of the Arts

5. Culture and Creative Industries • In the EU the CCI’s account for 3.3% of GDP and employ 6.7 million people (3 % of total employment). • Between 2008 and 2011 employement in the CCI’s proved more resilient than in the EU economy as a whole. • Only in Flanders, 120,000 people are now active in these industries which account for 3% of the national GDP. Sources: European Commission: ‘Promoting cultural and creative sectors for growth and jobs in the EU (2012) 2010 European Competitiveness Report Eurostat

6. Culture and Creative Industries The size of CCI enterprises • The vast majority(80%) of the CCI’s are micro-enterprises: smaller than 10 people. • responsibleforonly a modest percentage of the total turnover of the CCIs(18%) • The number of large-scaleenterprises (more than 50 employees) is marginal: lessthan1% • responsiblefor more than40% of the annual turnover • The missing middle: Medium sizedenterprisesare almostabesent. There is a substantialdifficultyfor small enterprisestogrowinto medium-sizedfirms. Source: Utrecht School of the Arts

7. Culture-basedcreativity • Study NESTA - Creating Innovation: • “Firms who spend twice the average amount on creative inputs are 25% more likely to introduce product innovations.” • “Firms that have supply chain linkages with creative industries typically offer more diverse and higher quality products.”

8. Culture-basedcreativity • European Commission - Innovation Union: “Innovation is increasinglydrivenbynon-technological factors such as creativity, design and new organisationalprocesses or business models.” • The European Commission calls forcross-sectorallinkages: “The CCI’sneedmulti-disciplinary environments wheretheycan meet withbusinessesfromotherindustries.”

9. Culture-basedcreativity European Creative Industries Alliance - An open platform that brings together policy-makers and business support practitioners from 28 partner organizations and 12 countries - The results of the pilot actions will feed into broader regional and national discussions on how future business support in general, and for creative industries in particular, should be planned and implemented in order to increase the innovation capacity and the value creation in creative industries and in those industries that are or could be directly benefiting from a close cooperation with creative industries. - Overall aim: to shape a community in Europe that actively supports creative industries as a driver for competitiveness, job creation and structural change by developing and testing better policies and tools for creative industries.

10. Business as usual? The philosophy of Andy Warhol

11. Case 1: Arteconomy • Founded in 2001 by Michel Espeel en Julie Vandenbroucke, from the metallurgiccompanyEspeel - Belgium • Arteconomy connects art and the economy through various forms of collaborations: • long term projects with artists in companies, • workshopsfor artists and entrepreneurs and ateliers where artists and entrepreneurs can meet • Arteconomywants to stimulate a broad range of people to think about art and the economy. Seminars, lectures, workshops and open discussions help to develop and enrich Arteconomy and others.

12. Case 1: Arteconomy • How do projects come about? • The initiative can come from a company, an organization or an artist. • Arteconomyfinds a suitable partner. • Financial agreements between the partners are made at the start of the project. • Openness, respect and generosity of all participants towards each other is necessary. • There are long term projects and short term projects. • The arteconomy projects aim at economic, social and artistic innovation.

13. Case 1: Arteconomy • Glassworks by Kris Vleeschouwer & Siemens • The artist Kris Vleeschouwerwas looking for the help of a company to develop the necessary technology for a monumental art work for the Prize Young Belgian Painting 2005 (the Belgian Turner Prize). • This collaboration strengthened the image of Siemens as an innovative company while at the same time it meant an engagement in a broader social context. • Siemens was not acting as a sponsor for the artist but rather as a facilitator. • Kris Vleeschouwer received the Prize Palais des Beaux Arts for this art work. Moreover, the project contributed largely to his international breakthrough as an artist.

14. Case 1: Arteconomy http://www.youtube.com/watch?v=EsbnaF5PZdE&feature=player_embedded

15. Case 2: Cittadellarte • Cittadellartewasfounded in 1998 by the ItalianartistMichelangelo Pistoletto • “a laboratory, a generator of creative energy that generates unedited processes of development in diverse fields of culture, production, economics and politics. “ • Objective: to operationally take artistic interventions into every sector of civil society to contribute responsibly and profitably to address the profound changes of our age.

16. Case 2: Cittadellarte • Structure: different cells or offices. Each office carries out its own activity addressing specific areas of the social system. • Goal: to produce a responsible transformation of global society, starting from their smaller local dimensions. • Categories: Art, Education, Ecology, Economy, Politics, Spirituality, Production, Work, Communication, Architecture, Fashion and Nourishment.

17. Case 2: Cittadellarte The Economics Office • committed to developing ideas for a new economic practice based on the concept of “human value”, intended as the primary element in individual and social well-being. • It has established the Human Values Bank, to invest in these values as specific items of economic attention, considering them as capital whose return is a social profit. • The Human Values Bank is a development outline based on the right to consume and the establishment of rules that break down the economic barriers between nations, societies and individuals. => Manifesto of Art and Enterprise (2002)

18. Case 2: Cittadellarte The Economics Office • Italy in Person project • intends to develop all the human and environmental richness of each territory • to arrive at a new way of conceiving production, that considers quality of life, all of the people directly and indirectly involved in the phenomenon of production and the impact it has on both the landscape and society. • The international plan centres around a primary exhibition, an artistic installation to be presented at international trade fairs and event promoting Italy as Country System, meaning inserted in exhibitions of Italian products of excellence.

19. Case 2: Cittadellarte Agency for creativity=> Project: AIM- Attraverso i Muri AIM represents a path of research and project planning that involves Cittadellarte, the Biellese Industrial Union, and the businessmen of the territory. AIM proposes innovative ways to promote a territory, rediscovering and valorising points of strength. AIM puts into relation the energy of the company with that of art and proposes, through the architectural re-qualification of industrial factories, a new rapport between the ethics of production and the aesthetics of art.

20. Case 3: the Centre for Fine Arts The Centre for Fine Arts is… A building by the visionary architect Victor Horta A visionary cultural project, known today under the brand name BOZAR. How can a visionary project as BOZAR be a partner to prepare a creative and innovative Europe?

21. Back to the wonder years King Leopold II and the Mont des Arts The 4th Palace in the government district The Royal Palace LePalais des Beaux-Arts The Palace of the Nation The Palace of Justice

22. Back to the wonder years A laboratory for the exchange of ideas • After the Great War, it was art that would save the world. • Exchange between disciplines • Exchange between nations

23. Back to the wonder years Belgian entrepreneurs meet the arts

24. Back to the wonder years Victor Horta – Arts & Crafts Industrial design Fine arts and applied arts

25. A crossroad of creativity Citizens Businesses Artists Science & Research Culture & Creative industries

26. A crossroad of creativity • The Centre for Fine Arts is a key driver of creative industries and entrepreneurs : • Around1.3 million visitorseveryyear, including ‘European’ from the institutions • Around30,000 artists and creative entrepreneurs supportedbetween 2004 and 2011. • The Centre believe in the importance of creative industries in a global context.

27. A crossroad of creativity • The Centre for Fine Arts stands not only for the classical ‘fine’ arts and the esthetical and socio-cultural aspects of art. • The Centre for Fine Arts wishes to be a catalyst for CCI’s by offering literally space for developments in architecture and town planning, film industry, photography, printing industry, design, fashion and digital applications. • VISIBILITY - Within this showcase the Centre for Fine Arts strengthens the bonds between the cultural world and the business world , stimulates collaboration towards new concepts, products and services, and shows the results of this interaction.

28. A crossroad of creativity Some examples (non-exhaustive): - 2010: Laurent Ney. Shaping Forces • May 2012: Colloquium “Towards a New Re-construction after 311 in North- EastJapan” • 2013: Scholten & Baijings: colour one mini

29. A crossroad of creativity FORUM The Centre for Fine Arts becomes… A hub for creativity and divergent thinking

30. A crossroad of creativity • Forum: future events (non-exhaustive): • Corporate Funding for the Arts in Challenging Times(November). • Debate with Salman Rushdie (November). • Conference on “Manifesto – For Europe!”, with Guy Verhofstadt and Daniel Cohn-Bendit. (December) • Etc.

31. Thankyou